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Subsequently, other artists, especially those of Malay descent, have explored the fusion of
Islamic aesthetics and contemporary art practice. In this community's artistic endeavours, the
incorporation of themes, symbols, and symbolism derived from Malay Islamic culture and lifestyles has
been a prominent feature, along with the use of symbolism associated with Islam in general. Islamic art
and sensibilities have profoundly influenced and inspired the artistic endeavours of Omar Basaree,
Fatimah Chik, and Hashim Hassan. Ahmad Khalid Yusof, Sulaiman Esa, Zakaria Awang, Ruzaika Omar
Basaree, Raja Zahabuddin Raja Yacoob, and Raja Zahabuddin Raja Yacoob are additional names that can
be added to the list. Due to a growing fascination with Malay culture and Islamic aesthetics, the works
of abstract painters such as Syed Ahmad Jamal are presently being analysed and admired through the
lens of Islamic perspectives. The Writer's Corner of the Language and Library Council organised a lecture
series titled "Towards Mystical Reality" in 1972. This event highlighted the insights of Sulaiman Esa and
Redza Piyadasa, his colleague. The exhibition originates a discourse concerning the concepts of space,
materiality, and mass, which provokes debate. This is accomplished by employing everyday objects and
texts as a cognitive experience that signifies the spatial dimensions, temporal aspects, and underlying
motivations associated with the use of such objects and texts. The concept is novel within the domain
of Malaysian painting. Malaysian painters were liberated from Western influences as a consequence of
the Cultural Congress's response to Western art theory. The integration of Eastern and Western cultures
is used to provide a novel perspective on art as a scientific inquiry, incorporating mental, spiritual, and
metaphysical viewpoints derived from Asian philosophy, specifically Taoism and Zen practice.

In 1984, the artist Sulaiman Esa organised an exhibition titled "Kearah Tawhid" as the event's
curator. The "Kearah Tawhid" series was displayed in 1984 at the Australian High Commission and the
Language and Libraries Council. Despite being involved in a number of controversies, this corpus of work
is crucial to the artist's career. It was a turning point for him, leading him to decide to leave Malaysia.
Notably, the artist attained success by combining the concepts of Malay traditional art and Islamic art
in significant works. Such examples include "Kearah Tawhid" (1983) and "Nuraini" (1983). Dr. Sulaiman
Esa initiated an exhaustive investigation into the broader historical context of Islamic art practice,
utilising his body of work as a foundation. He elevated the artistic standards of the archipelago,
specifically Malay art, to the level of Western painting expression in the twenty-first century. The
individual studied textile techniques, such as songket and batik, as well as other artistic disciplines, such
as weaving and wood carving, in order to capture the essence of the Indonesian people. Tawhid's
perspective on the definition of painting and art is predicated on his own comprehension. According to
Islamic art scholars, the metaphysical substance of an artwork is determined by a rational grid structure
that harmonises with the mathematical framework in the creation of arabesque and geometric motifs
(Sidik, 2012). The artist employs a substantial number of grid lines.

The thematic content of Islamic art often encompasses several elements such as calligraphy,
arabesque, and geometry (Nars, 1987). In contrast, she showcased a diverse collection of Islamic artistic
creations across several mediums and genres, encompassing both figurative paintings and depictions of
natural landscapes rendered in realist and semi-realistic styles. Additionally, it was found that a number of
them displayed traits commonly associated with the artistic movements of Impressionism and
Expressionism. In actuality, it should be noted that not all of these may be classified as distinct kinds of
aesthetic expression within the realm of Islamic art. However, it is important to acknowledge that they
collectively exemplify the diverse range of aesthetic perspectives inherent in the creation of Islamic art.
The themes explored in contemporary Malay Islamic art are as varied as the artists responsible for its

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